God is Light and in Him there is no darkness at all (1 John 1:5)

The Altar window was designed to express its theological message in direct and indirect imagery. This allows the viewer to seek comfort in immediately recognizable images while lending itself to a sense of mystery as well. The dominate image is that of Christ’s arms outstretched, posed as if to step forward. His figure is superimposed over a cross which speaks of his crucifixion and death. Draped around the figure and over one arm of the cross is a shroud or burial garment. In combination with the stance of the figure, this represents the Resurrection. The broken shackles hanging from Christ’s wrists signifies His triumph over death and hell. The sacrificial nature of Christ is represented by the lamb engulfed in flames as well as the garment which hangs draped behind the cross tinged in red (note that the lamb ‘rests’ on the Altar) One is reminded that His vesture was dipped in blood.

The Ascension is represented by the segment of deep blue colors hanging like a veil behind the figure. It is as if the figure is lofted into the air. The symbolic terrain to either side of the figure recalls that Christ climbed to an exceedingly tall mountain prior to his ascension.

In reference to the Mystical Body of Christ and Communion, the garment draped around the figure takes on the shape of a chalice. The halo surrounding the head of Christ becomes the host. Other symbols relating to the subject are wheat and grapes (side panels of window).

From an artistic standpoint, the elements of color line and light all tend to focus the viewer on the central image. The triptych message of the grouping of three dominant events indeed, even the triune Godhead, is enhanced artistically by three fields or planes of color. In the foreground is a field of cool tones. The second plane is made up primarily of warm tones. The third plane is crystal which will be ever changing according to the seasons. The overlapping of different planes sets up an imaginary depth of field which merges on a vanishing point in the Christ figure. The rigid structure of the vertical lines reconciles the design with the vertical support mullions while the playful movement of horizontal lines carry the design beyond the confined structure. Light takes on the void of negative space in the design cutting through color. This lessens the predictability of flat planes and, as with the color, provokes the viewer to focus on the central figure. This negative space takes on the connotation of spirit buy cutting the color and silhouetting the shape of a dove.

The Narthex window has again Christ as the central figure who beckons with one hand while motioning with the other the path to follow. It is as if the figure faces the road and calls to passersby to enter in. Directly behind the figure is a cross superimposed over a globe of green representing the earth. This alludes to the command that the Gospel be spread to the four corners of the earth.

To the left of Christ are two figures. One is kneeling compassionately rendering care to the other. This compassionate figure is St. Aloysius. The face is youthful, the figure energetic. St. Aloysius died while ministering to the sick in Rome and unselfishly gave his life in denial while seeing to the needs of others. Directly above the figures is a sword. This alludes to the military career that St. Aloysius eschewed to find favor with God. The image of St Aloysius provokes the viewer to consider his life; which was, as it were, poured out as water upon the ground for others. This young man gave his life tending to the thirst, the hunger, the suffering of others. St. Aloysius, the patron saint of youth, extolled the very virtue of righteous acts as related in Matthew 25:35-36.

“Then shall the king say unto them on his right hand, come, you blessed of my father, inherit the kingdom prepared for you from the foundation of the world: For I was hungered and you gave me meat: I was thirsty, and you gave me drink; I was a stranger, and you took me in; Naked, and you clothed me: I was sick and you visited me: I was in prison and you came unto me.”

To the right of Christ is Ezekiel. The inspiration of this image is from Ezekiel 34:15-16:

“I will feed my flock, and will cause them to lie down, says the Lord God. I will seek that which was lost, and bring again that which was lost and bring again that which was driven away, and will find that which was broken, and will strengthen that which was sick.”

Depicted with the figure are a lamb and skeletal remains. The lamb gives definition to the wayward who, without a shepherd, are lost and vulnerable. The skeletal remains draw attention to Ezekiel’s vision of the Valley of Dry Bones” and the resurrection power of the Lord. He who is able to restore sinews and flesh to the dead is well able to restore the lost back into the fold. Above the prophet is a scroll and beehive. These symbols relate to the roll of a book that Ezekiel saw a vision and was compelled to eat. The scroll represents the words of the Lord of judgment and reproach toward the nation and their sin.

Yet Ezekiel esteemed these works sweet as honey. Reproof in due season a blessing.

“Rebuke a wise man, and he will love thee. Give instruction to a wise man and he will be yet wiser; teach a just man and he will increase learning. The fear of the lord is the beginning of wisdom; and the knowledge of the holy is understanding. Proverbs 9:8-10.”

The message of the window is two-fold. There is a call unto righteousness to those without, and an admonition unto righteous acts to those within. Christ is the pivotal point visually as well as theologically; He will sit in judgment of nations of men and yet it is He who extends mercy and love to all mankind. In Christ we find a compassionate friend, one who is well acquainted with our grief and sorrows. As He sacrificially gave to perform the will of the Father, He admonishes us to likewise give.

The very motion of the figure conveys this message. His feet are turned toward the figure of Ezekiel and the admonition this figure represents. His left hand is raised in a gesture to call to reconciliation. Yet He sweeps His right hand twisting the upper torso towards the figure of St. Aloysius and his righteous deeds.

Visually, the figures are held in perfect balance. Christ becomes the standard; Ezekiel the weight of guilt and the law; and St. Aloysius the symbolic measure of the fullness of Christ.